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I EI&M&IW or I 

= A Course of Instruction On How to Make Business-Building Show Cards 

By JOHN H. DeWILD 



Prepared for the 

EDUCATIONAL DEPARTMENT OF THE 
ASSOCIATED ADVERTISING CLUBS OF THE WORLD 
New York, N. Y. 

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ELEMENTS OF 

SHOW CARD WRITING 

A Course of Instruction On How to Make Business-Building Show Cards 


By JOHN H. DeWILD 

XX 



Prepared for the 

EDUCATIONAL DEPARTMENT OF THE 
ASSOCIATED ADVERTISING CLUBS OF THE WORLD 
New York, N. Y. 


Copyright 1923. by John H. DeWild 





FOREWORD 


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It is with pleasure that we present this text on Show Card Writing by Mr. John H. DeWild of 
St. Louis. 

It is designed primarily for the use of the study classes in the educational work of the Advertis¬ 
ing Clubs that comprise this Association. 

It is built out of the practical experience of a class that Mr. DeWild has conducted with success 
in the Advertising Club of St. Louis. In fact, the publication of the book has been somewhat de¬ 
layed owing to changes that have been made in the original plan; changes that have greatly added 
to its practical value and that have come out of Mr. DeWild’s experience in his advertising class. 

It should be mentioned that Mr. DeWild is the manager of the Merchants’ Service Department 
of the Ely & Walker Dry Goods Co., St. Louis. He has written books before on this subject. Be¬ 
ing a practical merchandise and advertising man he knows the sales and advertising value of 
properly made show cards. He understands the technique of show card writing perhaps as well as 
any man in the country. 

This is one of a series of texts prepared for the Educational Committee of the Associated Ad¬ 
vertising Clubs and it is hoped by the Committee that it may serve an important place in improv¬ 
ing the quality of show card writing and its advertising and sales value throughout the stores of 
this country and of Canada and of every country where an Advertising Club is located. 


EARLE PEARSON, 

Educational Director. 


PAUL T. CHERINGTON, Chairman 
Educational Committee. 


Associated Advertising Clubs of the World. 


7 




(2) 





INTRODUCTION 


The ten practical lessons which follow, together 
with numerous supplementary alphabets and showcard 
suggestions, are the result of careful study, based upon 
years of experience gained in teaching the simple 
fundamentals of showcard writing to various groups of 
merchants and employees, demonstrations before Re¬ 
tail Merchants’ Associations, conventions and in other 
educational work. 

The lessons were formulated into the course recently 
inaugurated under the direction of the Educational 
Committee of the Advertising Club of St. Louis. So 
successful was the course that this book has been pre¬ 
pared with the idea in mind not only to serve as a text 
book for instructors, where it is desired to conduct 
classes under the auspices of an Advertising Club, but 
also for the student or store employee who desires to 
do individual practice outside of a classroom. This is 
the only text book published which carries the student 
forward, lesson by lesson—in a simple, practical man¬ 
ner. (Note the charts for beginners). 

It is easy to acquire, in a very short time, the 
ability to do suitable showcard work, provided the stu¬ 
dent first of all masters the fundamentals of lettering. 

By “fundamentals” is meant the simple strokes 
that form most of the letters, and these “strokes” 
should be mastered to the extent that they will always 
be made uniformly. 

In lesson No. 1, these fundamentals are thoroughly 
explained, and by using the large charts which are 


original with the author, the student will readily grasp 
the idea of properly forming the letters. With the first 
lesson thoroughly mastered, the remaining lessons will 
be very easy. 

The author is grateful to the Advertising Club of 
St. Louis for the inspiration—and the opportunity 
which led to the demand for a course in card writing. 
For many original ideas and suggestions used in the 
class-room, and for several alphabets and showcards, a 
great deal of credit is due Miss Frances Kaiman and 
Mr. Charles Jones, both of St. Louis, who gladly gave 
their services during the original course, and also in 
the preparation of the text itself. 

Experience demonstrates the fact that classes of 
this kind are made up of students from all walks of life; 
many of them without experience, and the majority of 
these young men and women come from the smaller 
stores in outlying districts. 

For this reason, it is necessary in class work, for 
the instructor and assistants to render personal service 
to the extent that each student is encouraged along the 
lines he or she prefers. 

As an illustration: The young man from a drug 
store is interested in vastly different styles of show¬ 
cards than the young man employed in a grocery store, 
and after the primary lessons are completed,, it is best 
to prepare suitable copy and layouts for the* students, 
so that each may work along practical lines. 

On the pages following the lessons will be found 
many > showfcard suggestions for numerous kinds of 
- business, and various seasons, all based upon the alpha¬ 
bets shown in the lesson plates. 


(3) 








MATERIALS FOR BEGINNERS 


Secure the proper materials right at the start. Im¬ 
proper materials are a handicap. 

Instructors who undertake the classwork in many of 
the smaller cities and towns, as well as individual students, 
will perhaps experience some difficulty in securing the right 
materials. If, after investigation, such is found to be the 
case and the suggested materials mentioned on this page 
are not procurable in quantities sufficient for individual or 
class practice, the Educational Department of the Associat¬ 
ed Advertising Clubs of the World, 383 Madison Ave., New 
York, will be glad to furnish these materials at very low 
cost. 

Proper materials are necessary, and good work can be 
done only when the student is provided with the best. 

For the beginner, the following outfit is suggested: 

1 set of 5 sizes round speedball pens, 

1 set of model “C” speedball pens or several sizes of 
broad pointed pens. 

1 bottle of black drawing ink, 

1 No. 10 and 1 No. 12 red sable “rigger” showcard 
brushes, 

1 2-oz. bottle black showcard color, 

1 2-oz. bottle light red showcard color, 

1 “T” square, 

1 drawing board at least 22x28 inches, 

A supply of thumb tacks. 

The “T” square may be “homemade,” if necessary, as 
well as the drawing board, the only essential in the drawing 
board being that it be “squared up” on two sides—the left 
side and bottom, thus enabling the student to do rapid, ac¬ 
curate “lining” or ruling. 


With these materials, the student is ready for the first 
, lesson, which should be practiced with the aid of the large 
instruction sheets, these charts being provided by the As¬ 
sociated Advertising Clubs, and two of each are included 
with this text book. 

It is also suggested that where, the local Advertising 
Club or other organization is fostering the class in showcard 
writing, there should be provided extra charts for practice, 
together with sheets of heavy paper, ertameled on one side, 
size 14x22 inches. This enables the student to do extra 
practice in addition to the chart work itself. 

In purchasing showcard stock, students should keep in 
mind certain sizes of stock necessary. 

Full sheets of cardboard are 22x28 inches. 

Half sheets are 14x22 inches. 

Quarter sheets are 11x14 inches. 

Eighth sheets are 7x11 inches, and so on. * ? 

The thickness or “weight” of cardboard is usually des¬ 
ignated by the term “ply” which means the number of 
layers of rough pulp making up the body. 

A good weight for ordinary cards is 6-ply. 

Heavy board, usually used for half and full sheets, is 
10-ply, or thicker. Mat boards and double size cardboard 
usually come 28x44. Some mat boards and other fancy 
boards can be procured, however, in 22x28 size, thus saving 
the time in cutting. 

It is suggested that students procure from their printers 
or wholesale paper houses, catalogs of samples and sizes of 
the various cardboards, etc., and familiarize themselves with 
the weights, colors, names, etc. 


(4) 



SUGGESTIONS FOR PRACTICE 


If the showcard work is to be conducted in classes, it is 
highly desirable to procure a suitable room where drawing 
tables are available; for instance, the drafting room of a 
high school or college. If this is impossible, the next best 
method is to provide large tables, slightly lower than thirty 
inches, and chairs where students may sit at their ease, in 
using their drawing boards. 

As the work progresses, the tables should be raised, so 
.that those who desire may stand up. This will enable the 
students to do better work, especially when the brush work 
is being practiced. 

In fact, it is suggested that after the third lesson 
students be permitted to stand as they work, and if in a 
drawing classroom or showcard studio where practical work 
is done, the regular drawing tables can be used. 

The thorough mastery of the fundamentals is absolute¬ 
ly essential to good work, and particular care should be 
taken with the first four or five lessons that all students 
master these details. If the student is without an instruct¬ 
or, he should exert every effort to be painstaking, and never 
hurry the work in the early stages of practice. 

Quick, “jerky” strokes, especially with the pen, are 
decidedly bad form, and should never be attempted until the 
student has advanced to the point where it is possible to 
gain a little speed and yet be neat and accurate. 


The instructions on the practice charts, as well as on 
the following pages, regarding the early lessons are fully 
explanatory. 

There should be absolute silence in the classroom, and 
students should be so arranged that the instructor and as¬ 
sistants may pass rapidly from one chair to another, watch¬ 
ing each student, and making corrections wherever neces¬ 
sary. The instructor should provide himself with a pen or 
brush as necessary, and use a separate sheet of paper in 
showing the students the correct method of making certain 
letters. Students need suggestions particularly on the for¬ 
mation of the letter “C,” the letter “S,” etc. Once the 
“reason why” is mastered, the rest is easy. 

Students should assume an easy, comfortable position. A 
cramped position is hard on the muscles and nerves, and 
ruins the eyes. Keep the head well over the work and have 
the work in front of the body—never too far toward the 
right. 

Don’t be afraid to “bear down” on the pen—pressure 
will keep the hand from “wobbling.” 

Keep the third and fourth fingers “folded in” and per¬ 
mit the hand to rest comfortably upon the table or drawing 
board. Use the thumb, first and second fingers to hold the 
pen or brush firmly and do as much of the work as possible 
with these fingers. In other words, “loosen up” the wrist 
and fingers. 


(5) 



INSTRUCTIONS 

Fundamentals —. 

On the adjoining page is shown the plain speedball al¬ 
phabet, one of the simplest alphabets that can be formed. 
The light lines show the direction in which the pen should 
move in forming the letters, and the numerals indicate the 
order in which the strokes should be made. 

Keep the “foot” of the round speedball pen flat on the 
surface of the paper or cardboard and press down with con¬ 
siderable force so that the pen makes a full, even stroke. 

Do not carry too much ink, as it will run and spoil your 
work. 

Practice slowly and patiently. 

Learn to form carefully the “lower case” or small let¬ 
ters, “i,” “1,” and “o.” All of the “lower case” letters con¬ 
taining ovals should be of the same uniform proportion. 

In this alphabet the “O” has been formed as a perfect 
circle, thus giving the student something definite to work 
from. It will be noticed that a-b-c-d-e-g-o-p and q contain 
ovals which must be uniform. Also notice that the lower 
case letter “i” is the first stroke in the letters “m” “n” and 
“r,” and with a slope, is used in the construction of u-v-w-x 
and z, and that the letter “1” is the first stroke in the letters 
“b-h-k and p”; thus the formation of an alphabet requires 
very few strokes. 

It is also well to bear in mind that the experienced 
showcard writer does not “work” or think in terms of let¬ 
ters, but his mind works in terms of “strokes”; thus he 
knows when forming the lower case letter “b” that the first 
stroke will be exactly like or similar to the lower case “1” 
and then must be added the oval. 

The capital letters are made up of uniform strokes, and 
the same with the numerals. It will also be noticed that 


(6) 


LESSON NO. 1 

Large Chart. 

wherever there is an oval, it should be as nearly the form of 
a circle as possible. The “oval” in figure “2” if continued 
would be a circle. The figure “3” is the same as figure “8” 
except that in “3” the ovals have openings. The loop of 
figure “5” should be almost a complete circle, the same as 
the loop in “6” and the lower loop of the numeral “8” should 
be the same size as the loop in “9.” 

The ovals of the lower case letters should be of a pro¬ 
portion that will occupy the space between cross lines “B” 
and “C” shown on the chart. After a little practice on the 
charts, and in the first lesson omitting the spurs entirely, 
this alphabet will be easily mastered. 

It will be noticed that the ruled lines on the chart are 
numbered A-B-C-D. This is for the convenience of the stu¬ 
dent, with the idea in mind that the ovals of the long stem 
letters are two-thirds total height. That is—the space from 
line “A” to line “B” should be one-half the space from “B” 
to “C” and the space from “A” to “B” should be equal that 
from “C” to “D.” 

This is an excellent proportion for practice work, al¬ 
though the student after he progresses is at liberty to vary 
these lines as may appeal to his fancy. (See page of speed- 
ball “variations” following lessons). 

By “spurs” is meant the little cross finishing lines as 
shown on the chart. Omit these “spurs” during the use of 
the first two or three charts. 

In lesson No. 1 follow on the chart only the lines indi¬ 
cated on the following page. 

Then carefully study the layout suggestions—where 
the “balance” of display comes—and the various arrange¬ 
ments. 




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Plates used by permission of Ely & Walker Di’y Goods Co., St. Louis. 

( 7 ) 
















































































































INSTRUCTIONS—LESSON NO. 2 

Perfected Speed Ball Alphabet--Layouts--See Chart • 


This lesson, shown on following page, should not be at¬ 
tempted until LESSON No. 1 has been thoroughly mastered. 

The student should be familiar with the layout sugges¬ 
tions shown beneath the alphabet in lesson No. 1 even to 
the extent of laying out the same outlines and copying them 
on sheets of paper about 9x12 inches. 

Lesson No. 2 should be copied by the use of a No. B 
round speedball pen. Follow the dotted lines on the chart 
very carefully and observe the details—especially the 
“spurs” which are the little finishing touches or cross lines 
—these being purposely omitted in the first alphabet. 

When the student has carefully lettered in one or two 
of these charts the same alphabet should be copied on a 
plain piece of paper or cardboard, forming the letters as 
nearly perfect as possible. 

Use a pencil for the “ruling in” on practice paper other 
than the charts. 

Page 7 also shows the condensed and extended varia¬ 
tions of the alphabet. Keep these forms in mind. Con¬ 
densed lettering is often necessary on narrow cards, and 
the extended is often used on very wide or “landscape” sizes. 

With this lesson thoroughly mastered—the student is 
advised to practice the layout work. The first drawing sug¬ 
gests the “copy” for a showcard as it is often handed to the 
card writer. 

There is a rule in card writing which demands the elim¬ 
ination of useless or unnecessary words. Thus the student 


scratches out the words “this is.” These words can be elim¬ 
inated without changing the sense of the card. Next, take a 
piece of enameled cardboard, or enameled paper, and make 
a penciled layout as shown. 

Keep the balance of display toward the top center. Note 
that the three lines are “gathered” in a group—not scat¬ 
tered all over the card. 

With the penciled layout ready—take up a No. 3 pen 
and letter in the first line—then use a No. 2 pen for making 
the next two lines. Use the smallest pen for forming a 
rather wavering or “rugged” border about one inch inside 
the margin of the card. Note the reproduced finished card 
shown. 

This layout should be practiced until it resembles' the 
original. Then the student should attempt the next card 
known as the two-price layout, and then follow with the 
special arrangement. 

These three layout suggestions will give the student 
confidence and the knowledge gained from practicing will 
make other layout work much easier. 

During the intermission between lessons, possibly cov¬ 
ering several days, the student should lay out and letter in 
other showcards from original copy or from copy sugges¬ 
tions secured through observing the showcards in large 
stores, or from th- advertisements in the newspapers. 

Master the alphabet and practice. 

Success follows persistent trying. 


(8) 





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Plates used by permission of Ely & Walker Dry Goods Co., St. Louis. 

(9) 














































































































INSTRUCTIONS—LESSON NO. 3 


Broad Point Pen Single Stroke 

This is a very beautiful alphabet when properly made. 
Students should note the graceful curves—and practice each 
letter carefully and faithfully from the large charts. 

The alphabet reproduced on the opposite page is from 
the same copy as that used in making the practice charts, 
with the exception that in the book, the practice lines are 
omitted. 

Any “broad pointed” pen may be used for this alphabet. 
Some showcard writers prefer the model “C” Speed Ball 
pen, others prefer what are known as “round” writing pens 

_which are the same style pen as the “Soennecken,” others 

may prefer the “Automatic Lettering Pens.” Any style pen 
that will fit the practice lines will suffice. The original 
chart from which the illustrations were produced, was made 
with a No. 3 model “C” Speed Ball pen. 

In beginning the practice work, note on the charts, and 
also on the alphabet shown here, that the four guide lines 
are lettered A-B-C-D, just the same as in the first and sec¬ 
ond lessons. The spacing is the same, and there is a general 
proportion common to both alphabets. 

Hold the pen firmly, but the hand should guide the pen 
at a slight angle. In other words—keep the hand somewhat 
farther toward the right of the letter itself—rather than 
directly over the work as was the case with the round 
Speed Ball pens in the first and second lessons. 

Note carefully the sketches shown beneath the alphabet 
_and endeavor to hold the pen exactly as shown. Note par¬ 
ticularly the angles in which the pen travels in starting and 
finishing the various strokes. 

In making the “staff” strokes such as “i”, “1”, etc., the 
pen should make a slight upward curve—much the same as 
though the writer were going to draw a very thin line up- 


Roman--See Chart for Practice 

wards at an angle of about 45 degrees. When this thin line 
is fairly started and touches the guide line, then make a 
graceful curve and come directly downward almost to the 
base line, allowing for the slight curve at the bottom of the 
stroke. 

Try the letter “i”. 

Hold the pen at an angle. Come up slowly, then turn 
and follow the practice lines downward. Then try the let¬ 
ter “1”. 

Now take a separate piece of smooth paper. Rule this 
off into spaces the same as the practice chart, and continue 
making the letters “i” and “1” until the pen feels “natural,” 
and you can make perfect perpendicular lines with the grace¬ 
ful curves of “spurs.” 

With the pen “sliding” downward somewhat at.a cross 
angle, the wide downward strokes will be found easy. 

Then try, on the chart, the curves which enter into the 
making of the letter “o.” All such curves are made from the 
top downward, and this is an important point. Also remem¬ 
ber that there must also be a swing of the pen from LEFT— 
DOWNWARD. Then, TOWARD THE RIGHT —AND 
DOWNWARD. Two strokes form the letter “o.” The next 
strokes are simple. 

With the letter “s”, you must use “THREE” strokes. 
Note the chart. 

Then come the strokes with curves which enter into 
the construction of “h”, “m”, “n”, “w” and “y”. 

Bear down on the pen sufficiently to get a wide stroke. 

Use a sweeping motion to get the curves. 

Follow faithfully the outlines on the chart, and you 
will soon De able to make a beautiful alphabet. 

The capitals are a series of easy curves, also the nu¬ 
merals. 


(10) 




Plates used by permission of Ely & Walker Dry Goods Co., St. Louis. 

( 11 ) 









































































































INSTRUCTIONS—LESSON NO. 4 

Single Stroke Brush “Roman”--See Next Page 


The student is now ready for practice work without the 
aid of charts, except for the model shown on adjoining page. 

Use either a No. 10 or No. 12 “Rigger” showcard brush. 

Rule the practice paper so that the total height of the 
letter “1” will be about 2 1-4 or 2 1-2 inches. This will leave 
a space of about 1 1-2 inches for the ovals. Any size letters, 
however, may be made providing of course the brushes will 
accommodate them. Be very careful in choosing brushes, 
and get good brushes. Professional card writers prefer the 
best red sable obtainable, and with reasonable care, a good 
brush will last a lifetime. Also be sure of the sizes. Brush 
numbers are confusing, and there is a series of sizes larger 
than the “Rigger,” with duplicate numbers. The term 
“rigger” means the short handled brush, and this style 
brush also has somewhat shorter bristles than the larger 
models. The price of the “rigger” is also considerably less 
than that of the larger brushes. If there is difficulty in se¬ 
curing brushes, write to the Educational Department of the 
Associated Advertising Clubs of the World, as suggested on 
page “Materials for Beginners,” and you will be properly 
supplied at reasonable cost. 

The student must also use regular showcard color for 
ink. Don’t use pen ink for brushes. It will not work, and is 
too expensive. Procure some regulation showcard colors in 
the 2-oz. bottles costing about 25c. Professionals use the 
term showcard “colors” to designate the brush water colors 
from the inks used for pens. 

With the brush and ink ready—secure a small piece of 
cardboard for use as a palette or mixing board, and by dip¬ 
ping the brush into the showcard color several times, there 
will be sufficient quantity on the palette to proceed. Have 
a (small cup of water handy, and into this dip the brush for 
moisture. Pour very little water into the show color itself— 
moisten and work up the color on the palette. 

In doing the “mixing” also endeavor at the same time 


to work the bristles of the brush into a sharp “chisel” or 
flat edge. This is necessary to do good work. 

After each letter or two, repeat the chiseling out 
strokes on the palette, and always carry sufficient color on 
the brush to do good and easy work. Don’t permit the brush 
to dry out so that the letters are weak and poorly “covered.” 

Now for the lesson. Hold the brush with the point at 
an angle—the same as the pen was held, in forming the al¬ 
phabet in the previous lesson. The first stroke is a very 
short, light one—then, rest the brush, and bear down slight¬ 
ly until the bristles are well spread. Come down in an even, 
straight stroke. This is the first stroke. (See first stroke 
on next page). When almost to the base line, stop and go 
back to the thin spur, and fill in the open space. (Note the 
second stroke on next page). Then resume position as in 
downward stroke and taper easily and slowly toward the 
right, touching the baseline. (This is stroke 3). Next place 
the brush a trifle from the bottom and come downward to 
left. (Making stroke four). Then across the bottom of the 
line, completing a very neat spur with stroke five. 

This is the manner of lettering the lower case “i” and 
also the lower case “1.” 

Close observation will show the exact manner of finish¬ 
ing “off’ the capitals. In the practical use of this alphabet, 
avoid using lines of all capitals as much as possible—and' 
then, use only the simple capitals. The fancy letters are for 
use only as the first letter on a showcard or for capitals in 
the main display lines. It is difficult to read lines of all 
capitals at a glance, and for this reason they should be used 
sparingly. 

In doing color work, students will find that regular 
showcard color, somewhat “thinned out” with water, and 
placed in a separate bottle, will serve admirably in pen work. 
This is particularly true in lettering with the pen, on mottled 
mat board, or other “pulpy” surfaces. 


(12) 



BRUSH “ROMAN” 





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Plates used by permission of Ely & Walker Dry Goods Co., St. Louis. 

(13) 






















































































































INSTRUCTIONS—LESSON NO. 5 

The “Egyptian” Brush Alphabet 


Show card writers give this alphabet the name “Egyp¬ 
tian” when it applies to the plain lettering as shown on fol¬ 
lowing page. There are many other names that apply— 
when the alphabet is “trimmed” up with various embellish¬ 
ments known to professionals. There is the spurred “Egyp¬ 
tian” when the lines are finished off with “spurs”—either 
heavy spurs or hair line spurs, and a host of other “embel¬ 
lishments” according to the taste and originality of the card 
writer. 

The student will do well however to stick to the plain 
alphabet until the various letters are thoroughly mastered. 

Among printers, this alphabet is known as “Gothic,” 
and some showcard men call it a “block” letter. The term 
“block” comes from the fact that most of the letters should 
occupy the same amount of spacing. 

While not a beautiful alphabet—it comes in very con¬ 
veniently, and is a splendid letter for making bold lines. 
As an illustration—the word “HATS” is a comparatively 
weak word on a large show card, unless the lettering is 
heavy, or embellished with some shading or outlining. With 
a broad brush—if in a hurry—the card writer can dash off 
such a word very quickly in “Egyptian”—thus saving time, 
and yet making a good, bold card. 

The word “HURRAH”—sometimes used to attract at¬ 
tention—is very weak—unless lettered in bold “Egyptian.” 

Large prices on full sheet cardboard signs and letters on 
cloth signs are also often done with this alphabet. 

Don’t be discouraged when first attempting it with a 
brush—and make it only with the brush. 

Pick out a brush that has a good even edge. A “rag¬ 
ged” brush is useless for heavy strokes. And when you find 
a brush that will work well, leaving the perpendicular and 
ends of the vertical lines even and neat, KEEP SUCH A 


BRUSH FOR THIS STYLE LETTERING, and use it for 
nothing else. In contrast to the “Egyptian”—a brush for 
the Roman alphabets must be pliable and of a “texture” to 
permit of light and heavy lines being made alternately. 

In forming the “Egyptian” the brush must hold its 
“chisel” edge, and keep an even stroke; therefore the neces¬ 
sity of using the right brush. 

First practice the letters that contain the straight 
strokes, E-F-H-I-L-V and W. Keep practicing these capi¬ 
tals until they become easy. Then take up the remainder. 
For the capitals—draw your cross guide lines about two 
and one-half or three inches apart. Regulate your lower 
case letters accordingly. 

Learn to twirl the brush between the thumb and sec¬ 
ond finger, using the first or index finger as a sort of guide 
to keep the brush in place. 

Roughen up the polished ferrule of the brush with sand¬ 
paper, or a file. Some showcard writers wrap adhesive tape 
about the ferrule, others wind that part of the brush with 
small rubber bands. All these “tricks” enable you to hold 
the brush more firmly and make the “turns” much easier. 

Making the curves is a combined arm, wrist and finger 
movement and the student must bear in mind at all times 
that the hand must drag the brush. Do not try to push the 
brush. KEEP THE HAND AHEAD OF THE BRISTLES, 
and keep the chisel edge of the brush always at right angles 
with the width of stroke. 

Also endeavor to keep the brush somewhat more per¬ 
pendicular than with the Roman lettering. Many showcard 
writers hold the brush so that the handle is exactly erect or 
horizontal and a trifle forward of the third joint of the in¬ 
dex finger. 

Keep the head well over the work, almost directly over 
the work, and you will find the lettering can be done easier. 


(14) 



BKUSH “EGYPTIAN* 



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Plates used by permission of Ely & Walker Dry Goods Co., St.- Louis. 
( 15 ) 

















































































INSTRUCTIONS—LESSON NO. 6 

Embellishing, Decorating , Etc. 


If this work is being done in a class under an instructor, 
it is suggested that examples be prepared exactly as describ¬ 
ed on this page, and illustrated on the following page. This 
will enable the students to gain an exact idea of the work 
to be done. If the student is practicing alone, it is suggest¬ 
ed that cards duplicating, or at least similar to those describ¬ 
ed, be procured, and the various combinations followed out. 

Card No. 1, size 9x13. Mottled mat board with a slight 
tinge of very light green. First three lines of lettering were 
done in bright red, and then the words “Fancy Stunts” were 
striped with light yellow. The word “color” was lettered 
in dark brown and embellished with light yellow. 

Card No. 2, size 9x13. Light blue mottled mat board. 
Lettering was done in blue—the first lines in dark blue, 
and the numerals “40” in light blue, outlined with dark 
blue. The snow effect was accomplished by coating the 
top of the card and the letters very heavily with thick, white 
showcard color. Before this color dried, fine “imitation 
snow”—ground mica—was distributed. The card was then 


left to dry, after which the surplus ground mica-was brush¬ 
ed off into a receptacle, to be used again. 

Card No. 3, size 9x13. Pink mottled mat board. Let¬ 
tering shows two styles of outlining. The first two lines 
were light purple outlined closely with black—the last two 
lines were dark purple with rugged light green outline. Note 
carefully the methods of outlining. 

Card No. 4, size 18x8. Linen finish, cream tinted mat 
board. Lettering was done with No. 10 brush, using orange 
ink. . The outlines and underscoring were done in purple, and 
the decorative dots over the face of the letters are white 
put on with small brush. 

Card No. 5, size 61^x41/2 inches. Light tan mottled 
mat board. Price was lettered with brush, using dark blue 
color, shading was done with light blue. The embellishing 
across the face of the figures was done with white. 

Card No. 6, size 12x18 inches. Mottled tan mat board, 
round cornered. Body of lettering done in dark, reddish 
brown, then dotted with gold. The letters were outlined 
with bright red. 


(16) 



DECORATIVE SUGGESTIONS 



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( 17 ) 






INSTRUCTIONS-LESSON NO. 7 

Use of Pantograph, Pictures, Copying Designs, Etc . 


Card No. 1. Size S^xT inches. This was a sample 
from a wholesale paper house. Body color was a very light 
green. The border and center panel were made with olive 
ink. The figures were light yellow and outlined in bright 
red. The picture of a parrot was cut from a magazine and 
pasted in the corner of the card as shown. 

Card No. 2. Size' 101 / 2 x 14 inches. Dark cream mottled 
mat board. Lettering was done in a dark gray with No. 10 
brush. The initial letters “D” and “F” were shaded with 
black. The picture which represents a photograph was a 
neatly printed half-tone, cut from a trade paper. The bor¬ 
der of the card was gray. 

Card No. 3. Size 101/2x13 inches. Plain white card¬ 
board with a picture pasted on the upper left-hand corner 
cut from a manufacturer’s showcard. The lettering on this 
card was done in black with the round speedball pen. The 
border is dark green to match the picture. 

Card No. 4. Size 111/^x1814 inches. Plain white card¬ 
board. Lettering was done with large round speedball pen. 
The picture shows the use of the pantograph and the sketch 
was enlarged from the original at the left. This was en¬ 
larged four times as shown on the card itself. After the 


sketch was traced with a pencil, the drawing was filled in 
with drawing pen. 

Card No. 5. Size 8x6 inches. Plain white cardboard 
lettered with No. 10 brush, using bright green ink, then 
shading with black. 

The butterfly was a cut-out from a trade paper and 
pasted to the card-board. 

In shading the letters on a showcard, or on any piece 
of sign work, the student should keep in mind the theory 
of shading which is as follows: 

Imagine, if possible, that the letters to be shaded are 
about one inch in height from the paper and that a light is 
being held above and to the right of the letters at an angle 
of about 45 degrees. If this experiment is carried out in 
actual practice it will be found that the shadows fhll to the 
left and below the letters. This is the rule for proper shad¬ 
ing. The effect can be reversed by imagining the light com¬ 
ing from above and to the left. This would necessitate the 
shading on the right side of the letter and at the bottom. 

Students should study the large cloth signs made by 
professional sign men, for splendid examples of shading. 


(18) 



PRACTICAL EXAMPLES 



TkeOrt6t\al 


furniture 

(om/ortoble 

Durable 


tlc^cerOed 


Dainty 

Durable 

/fore 

Popularly Priced. 


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( 19 ) 















INSTRUCTIONS 

Air Brushing, “ 5 / 

The first figure, that is the figure to the left on the 
adjoining page, shows the stencil, or pattern, as it is cut 
from regular stencil stock for use in air brush work or other 
decorative methods. 

The card in the center shows the design after being 
copied on the showcard. The stencil itself was placed on 
white showcard, size 14x22, and the air brush color was 
blown about the margin of the stencil, with the result as 
shown. The lettering on this design was done with a large 
size model “C” Speed Ball pen. 

The two cards shown to the right are illustrations of 
how to proceed in doing “spatter” work. The card at the 
top shows the panel cut out, and this was placed over the! 
card shown just below. The spatter was done with light 
green color, and the method employed was as follows: 

A brush similar to that used in cleaning typewriters 
was used with regular air brush ink, and this brush was 
moved backward and forward across the blunt edge of a 
knife blade. The face of this panel was then lettered as 
shown. This lettering was done with a large size model 
“C” pen. 

Students who desire to further familiarize themselves 
with air brush work, should write to the various manufac¬ 
turers of air brushes, and get literature on this interesting 
subject. Stencils may also be procured from showcard sup¬ 
ply firms or from the manufacturers themselves. Patterns 
from stencils may also be copied from wall paper designs, 
pictures, etc., and then cut out with a very sharp knife. 

“Air brush” is a name for a finely made tool which has 
a very delicate spray, operated by means of air pressure. 

It is necessary, of course, to attach the air brush to 


LESSON NO. 8 

ter” Work, Etc. 

some sort of tank containing air, and for those who use the 
air brush a great deal, nothing is more convenient than the 
carbonic air tank furnished by any carbonic gas company. 

It is necessary to attach an air regulator to such an air 
tank. Bear in mind that an air regulator is a combined reg¬ 
ulator and pressure gauge. 

In addition to the air brush, it is necessary to have ex¬ 
tra color cups and about eight feet of rubber hose to attach 
to the tank. 

Ordinary spatter work may be done in a great many 
ways, in addition to the method mentioned here. 

Many showcard men find that an ordinary fine spray 
atomizer will do very good work, and some even attach an 
atomizer to a home made air pressure tank, which is fed 
from a hand or foot pump. 

Any method that will add novelty to the appearance of 
a showcard is very good, especially at the important seasons 
of the year. 

In doing air brush work however, or spatter work, it 
is very necessary to first procure the regular air brush 
colors. Ordinary homemade mixtures will drip and ruin 
your work. The regular air brush colors have in their com¬ 
position a dryer which causes the color to dry immediatelv, 
and also a binder which prevents the color from being rub¬ 
bed off. Air brush colors are very reasonably priced, and 
can be secured in a great range of shades and colors. 

If the student has difficulty in procuring these ma¬ 
terials, he should write to the Educational Department of 
the Associated Advertising Clubs as suggested in previous 
lessons. 




SPECIMENS—FOR LESSON 8 



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( 21 ) 







INSTRUCTIONS—LESSON NO. 9 

Finished Work in Air Brushing , Etc. 


This lesson has been designed as a direct follow-up of 
Lesson 8. 

There is a variety of simple and practical suggestions 
on the following page—giving the student much actual 
practice. 

If work is being done by classes, the instructor should 
have similar designs prepared and permit the students to 
copy from them. 

It would be much more practical if such designs could 
be shown to the students before the class closes on Lesson 8. 

These designs are all on white cardboard so that very 
little extra stock is necessary. 

Card No. 1. Size 12x11. Plain white card, air-brushed * 
in black around the oval cut-out. The “turned-down” corner 
effect was obtained by clipping off the corner and airbrush- 
ing a section to represent the portion that would be folded 
over. The lettering was done with No. 8 round Speed Ball 
pen, and the figure “4” was outlined in purple. 


Card No. 2. Size 11x14 (quarter sheet). Airbrushing 
was done over a panel with purple ink. The pictures were 
then pasted on and the lettering done with small size broad 
point lettering pen. 

Card No. 3. Size 7x7. Air-brushed panel background 
was obtained by “spattering” the color through a “jagged” 
edged cut-out. Lettering was done with large size round 
Speed Ball pen. 

Card No. 4. Size 91 / 2 x 20 . Plain white cardboard. 
Faintly decorated panel was made by rubbing in colored 
chalk dust and outlining this with small pen. Lettering was 
done with No. 4 round Speed Ball pen. 

Card No. 5. Size 11x16. Plain white cardboard. 
Silhouette was made by transferring the outline of a picture 
by means of carbon paper. This outline was then filled in 
with black ink. The border and shading were done in dark 
red. The lettering was done with small broad lettering 
pens: a No. 4 Model “C” Speed Ball and a No. 5 Model “C” 
pen. 


(22) 



SUGGESTIONS FOR PRACTICE 



/l don\{>lett 

W % 

ToitcL 

Accessories 

J-^nced 
to Please 


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( 23 ) 










INSTRUCTIONS—LESSON NO. 10 

Finished Practical Work--General Review 


If the work has heen conducted by classes, this lesson 
will serve as a general review, and students should be asked 
to duplicate the examples shown on the next page. 

The general review work should also include work in 
the simple alphabets with each student making a card with 
the round speed ball pen, one card with the broad pen, and 
one simple brush card. 

The examples shown on following page should be 
shown to the class before the close of the previous class ses¬ 
sion, in order that the proper preparation may be made. 

These cards are not difficult, but have been made up 
with the idea of giving the student an idea of variety—and 
individuality. 

If an air brush is not available, an atomizer, or a simple 
“spatter” process will serve just as well. 

Card No. 1. Size 9%xl4i4 inches. The lettered panel 
was 5 x 71/2 inches. The large part of the card was made by 
covering a piece of wall board with purple plush and 
mounting the showcard on it as shown. The showcard it¬ 
self was of pebble finish, cream colored mat board, lettered 
in black with the price in white. The border as well as the 
underscore is also white. 


Card No. 2. Size 14x8 inches. The background was 
light gray,- with the mounting in light blue mottled mat 
board. The lettering was done with the brush, using dark 
blue ink. The outline was in white. 

Card No. 3. Size 10x15 inches. Stock used was linen 
finish, cream colored mat board; lettering was done in black 
ink with a wide pointed pen. The border was finished with 
the air brush, and then striped with white. 

Card No. 4. Size 914x22 inches. Panel was air-brushed 
in purple; lettering was done with large size round Speed 
Ball pen; first two lines were underscored in light green. 
Price was outlined in light green ink. 

Card No. 5. Size 8x1114, inches. Lettering was done 
with a round Speed Ball pen, and the panel effect with the 
perpendicular lines was done with the pen, using orange 
color ink. 

Card No. 6. Size 5x12 inches. Light tan cardboard; 
lettering done in reddish brown ink, using wide pointed let¬ 
tering pen for the large letters, and the price was done with 
a No. 10 brush. The border was bright red, and the small 
lettering was done in bright red. 


( 24 ) 



SUGGESTIONS FOR LESSON 10 



Pekin 

fflorea 


duji 

Pccci'Oed 


}l neu> spang 
novelty 




mm 






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( 25 ) 


















SPEED BALL VARIATIONS 


The chart on the following page shows a number of 
variations which really make separate and distinct alphabets 
based on the Speed Ball pen alphabet practiced in Lesson 2. 
From these variations, if studied closely, it will be noticed 
that the Lesson No. 2 alphabet is used as the basis, and by 
simply changing the spurs, it is possible to make four or 
five alphabets from the one model. 

The chart as shown on the opposite page is self ex¬ 
planatory. It is only necessary to state that the student 
should study the changes thoroughly, and when well mas¬ 
tered, they will add much to the attractiveness and individ¬ 
uality of showcards. 

By varying the height of the body lines, known also 


as the staff lines, it is possible to change the entire appear¬ 
ance of this simple alphabet. 

The last alphabet shown is much the same as that in 
Lesson No. 2 with the exception that the spurs are square 
and face generally in one direction. 

It will also be noticed that many of the strokes are 
left open, at least there is a bit of white space showing be¬ 
tween the staffs and the next stroke. This adds a touch of 
individuality to the alphabet, which is patterned after a 
popular type face. 

In practicing this alphabet, simply rule off the practice 
paper as shown in previous lessons and follow the chart as 
closely as possible. 


( 26 ) 



CHART OF VARIATIONS 


Thif iy an Example of tbeTlopin^P^ 



BeW is on example of the "Double Cun)e'Ypur 




Tnif Vf a Specimen g/^ 


he r 


I \ A\ 


RlWIlfcjUSM 


"his Domoiistalos Us ffipIE Body Ivinaz-CiPiRQ (Mast 


dbcdcfqhKijKilmAopqra 


Z-l ’234567590 . 


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“SPECIAL” ALPHABET 


t 


This alphabet is a Variation of the Roman and Old 
English combined. There is always a demand for some¬ 
thing neat, and attractive, and not too difficult or “fancy” 
to be easily made and easily read. 

The same alphabet used week after week becomes 
monotonous, and students will find the “special” alphabet 
shown on the following page a very interesting one. 

The capitals are quite easy, and follow somewhat after 
the style of the plain, single stroke Roman, for the pen and 
brush, shown previously. 

Cards to be used in jewelry stores, for millinery, and 
other high class lines of merchandise, look “classy” and are 
very attractive when lettered in this style. 

When using this alphabet it adds greatly to its at¬ 
tractiveness to procure tinted cardboard. A faint tint of 


purple, blue, brown, etc., greatly enriches the cards. Cream 
tinted cardboard is also admirably adapted to this purpose. 

Black cardboard may also be used, or other solid color. 
By thinning the regular showcard colors somewhat with 
water, beautiful work can be done. Black cardboard with 
white lettering is decidedly appropriate in jewelers’ win¬ 
dows but the cards must not be too large. 

At Christmas time this is a very desirable alphabet be¬ 
cause it has many traits of the Old English. 

With a little practice the fundamentals will soon become 
fixed in the mind, and the student will have one more al¬ 
phabet added to his “vocabulary.” 

Practice the layouts as shown, using black cardboard 
and white ink for the second, and light blue ink on white 
to form the dotted center panel of the third card. 


( 28 ) 



FOR BRUSH OR PEN 











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( 29 ) 





































































PEN OR BRUSH “ITALIC” 


The “Italic” is a very necessary alphabet in card writ¬ 
ing. 

The name is derived from the slanting appearance of 
the letters. In using' this style of lettering be careful to 
have the “slopes” or “slants” uniform. 

The angle as shown on the chart is the preferred 
“slant.” In practice work, to maintain uniformity, students 
should rule off their cards or practice sheets as indicated 
by the broken lines. This compels uniformity, and many 
professional card writers use a specially “slanted” ruling 
guide or “T” square for making such lines. 

This alphabet is designed for either the broad pointed 
pen or brush. The round speedball pens may also be used 
for a “slanting” alphabet, if desired. 

Compare the similarity of this with other alphabets and 
it will be found easy to make. Take time to analyze 
this and previous alphabets, and it will be found very 
simple. 


Words lettered in “Italic” on a showcard break up the 
monotony. When there is considerable reading matter on 
a card or sign, a few lines in Italic will relieve the dense¬ 
ness of the lettering and invite reading. 

Italic is also much used for catch lines—the short 
lines—which often occur between the important lines on 
a card. 

The words “the”, “our”, “on” and many others are 
usually written in Italic. 

The last line of lettering on the adjoining reproduction 
shows.some slight variations preferred by showcard writers, 
in that the spur at the top of some of the staffs is sharper, 
and on other letters the bottom spur of the first stroke is 
omitted. In working under pressure many showcard writers 
omit the spur in all first strokes on the h, k, m and n. 

The “Italic” numerals are simple—and much used for 
prices on any style card. In fact, the Italic is much pre¬ 
ferred when there is considerable small lettering to do and 
the work must be hurried. 


( 30 ) 



“ITALIC” CHART 




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(31) 




































































































































DIRECTIONS FOR “OLD ENGLISH” 


While the “Old English” stands out in an unusual way 
for beauty and dignity it must at all times be used with the 
utmost discrimination. It does not lend itself ordinarily to 
showcard or poster work and finds its best purposes in con¬ 
nection with Christmas showcards or monogram effects. 
Jewelry, silverware and gift suggestions of the valuable 
variety express themselves to the highest advantage in the 
“Old English” alphabet. 

A point to be remembered in using this alphabet, how¬ 
ever, is not to combine capitals in one word. Capitals can 
only be used in connection with the lower case letters. Some 


of the other alphabets, more specifically the “Egyptian,” 
work out very effectively in “solid caps.” However, this 
effect can never obtain in the case of the “Old English.” 

The alphabet as shown on the plate is self-explanatory 
as to combination of strokes. The letters may be made with 
the brush held at an angle square with the stroke, empha¬ 
sizing the fine lines, or they may be made with the broad 
point pen, depending on the size desired. 

This alphabet is the most time-taking of any to make 
and as it adapts itself to only limited purposes, should bo 
used very rarely. 


( 32 ) 



‘‘OLD ENGLISH” CHART 



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(33) 









































































DESCRIPTIONS OF PRACTICAL CARDS 


Card No. 1. Size 81/2x1714 inches. Light tan mottled 
mat board lettered in dark brown ink. This card demon¬ 
strates an important point in showcard writing, that—if 
the price is to be displayed in large figures, the general out¬ 
line of the space occupied by the numerals should conform to 
the proportions of the card. Thus a narrow card demands a 
condensed price. 

Card No. 2. Size 20x12 inches. Cream tinted linen 
finish mat board. Initial capitals in the first line were in 
bright red, the other lettering in brown, while the price fig¬ 
ures were bright red outlined with brown. This style card 
is reproduced for the purpose of showing that an extended 
card such as this, which is called the “landscape layout,” 
should have an extended price that will be in keeping with 
the general proportions of the card. 


Card No. 8. Size 6x12 inches. Light green mottled 
mat board with lettering in light blue outlined with dark 
blue and then decorated with dots of white and black. This 
shows a very pretty card for single price, and in this size 
also the price figures should conform to the general out¬ 
line of the card. 

Cards Nos. 4 and 5 are what is known as “strip” signs. 
That is, they are lettered on narrow strips. The originals 
were about 4inches wide. Card No. 4 was lettered on 
light maroon cardboard with black ink. Card No. 5 was 
white with black lettering. 

If the student enters into practical work and has oc¬ 
casion to make many narrow strips on paper, such paper 
can be procured in varying widths and in rolls from any 
firm that carries supplies for showcard writers. 


( 34 ) 



PRACTICAL CARDS 



%$ Style 
Card 

Should Have 


Condensed 

Price 


The Big Sale 


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DESCRIPTIONS OF CARDS FOR SUMMER 


Card No. 1. Size 16x22 inches. Gold mat board in 
fancy “cut-out” pattern. Large lettering done in white 
color with air-brushed shading in light red. Smaller lettering 
done in black ink. 


Card No. 2. Size 16x22 inches. This card was made 
of tan mottled mat board with air-brushed panel as shown 
in reddish brown. Large lettering is in white—the small 
lettering in black. Such cut-out panel effects have the ap¬ 
pearance of two sheets of mat board being used. 




( 36 ) 



CARDS FOR SUMMER 



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( 37 ) 


DESCRIPTION OF CARDS ON PAGE 39 


Card No. 1. Size 16x22 inches. Cardboard is imitation 
Circassian Walnut lettered in plain white. In lettering on 
cardboard of this character the student shoud bear in mind 
that such board is of necessity an oil finish and that paint 
with considerable dryer, or printer’s ink mixed with gaso¬ 
line are best for lettering. Water colors are very unsatisfac¬ 
tory on surfaces of this kind. 

This board is a fancy cut-out and may also be procured 
in the mahogany finish. 


Card No. 2. Size 16x22 inches. Plain white cardboard 
with wall paper mat pasted onto the white board. Space 
occupied by the lettering was first air-brushed in light green 
which shows very faintly in the reproduction and this was 
then lettered with white showcard color, using No. 12 brush. 


( 38 ) 



SUGGESTIONS FOR FURNITURE DEALERS 



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( 39 ) 





DESCRIPTION OF “SPRING” CARDS 


Card No. 1. Size 16x22 inches. This showcard was 
made of maroon colored railroad bristol. The large letter¬ 
ing, in the “Egyptian” style, was done with yellow color. 
The clover effect on each of the first letters in the three 
words was done by grouping three dots in light red color. 
The smaller lettering at the bottom of the card was done in 
white color as was also the border, as indicated. This card 
is attractive in style, featuring the side panel effect with 
broken border. 


Card No. 2. Size 16x22 inches. Plain white cardboard 
mounted with a card of pale green. The word “Seeds” is 
lettered in deep yellow, closely outlined in dark green. The 
smaller lettering is done in the same shade of dark green 
and outlined “raggedly” in bright yellow. The color com¬ 
binations are very effective, especially in connection with 
this particular kind of “merchandise.” 


( 40 ) 






CARDS FOR EARLY SPRING 


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(41) 





DESCRIPTION OF EASTER CARDS 


Card No. 1. Size 16x22 inches. Fancy cut-out, heavy 
•purple mat cardboard. Card was beveled and makes a very 
pretty design for Easter. The lettering was done with the 
No. 12 brush, using white ink. The word “Hats” was out¬ 
lined with lavender. The words “Easter Parade” were 
■cross-striped, as shown, with gold ink although this appears 
.as almost white in the reproduction. 

The price cards shown in the reproduction were let¬ 
tered on purple cardboard. The first price ticket was white, 
shaded in light green with the air brush. The next card 
was lettered in white and shaded with lavender. The third 
card was lettered in lavender and outlined with white. The 
border of the card was air-brushed with green ink and then 
striped with white. The last card shown was lettered with 
yellow on purple cardboard shaded with light red. 


Card No. 2. Size 16x22 inches. The original of this 
card was very beautiful. The center panel in the reproduc¬ 
tion does not give the clear detail of the quality of stock 
used. The background of the original was heavy purple 
mat board and the center panel was of grain finished cover 
stock tinted with purple. The center panel in the original 
gave the appearance of a piece of white kid stretched over 
the surface of the mat. The edges of the lettered panel 
were heavily air-brushed in black ink. The lettering was 
done with small size model “C” speed ball pen. 

Such cards add much to the attractiveness of any win¬ 
dow display and students should procure samples of this 
paper stock from some source and note its beautiful finish. 

If work is being done in class—such examples should 
be exhibited to the students. 


( 42 ) 



EASTER CARDS 



iViaoAli' 


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(43) 












DESCRIPTION OF CARDS FOR SUMMER 


Card No. 1. Size 16x22 inches. Made of white card¬ 
board with air-brushed panel in light blue and panel is 
striped with faint white lines. You will note that the lines 
are heavier at the top and bottom, apparently “fading out” 
toward the center. This produces a very cool, elusive ef¬ 
fect, suggesting water. The lettering is done in white color 
with slight air brush shading in light green. For suggested 
coolness the colors here used are uniquely effective. 


Card No. 2. Size 16x22 inches. Light tan mottled mat 
board. Large lines of lettering in dark gray—first line out¬ 
lined with black lines, second with light green. The bottom 
line of lettering is done in black. The panel in the orna¬ 
mentation was done in gray—the flowers are of bright red 
outlined with white against circular background of dark 
blue. The conventional foliage falling from flowers was- 
done in light green. Card No. 2 would be very effective in 
a window display of footwear. 


( 44 ) 



CARDS FOR SUMMER 



iJittralcthteU} Priced 


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( 45 ) 








MORE CARDS FOR SUMMER 


Card No. 1. Size 9^x20 inches. Gold mat board with 
a cut-out picture pasted near the top as shown. The check¬ 
er-board border was made with bright red. The word 
“Dresses” was lettered with No. 12 brush using bright red 
showcard color. This line of lettering was also shaded and 
striped with white showcard color. The small lines of let¬ 
tering were done with No. 4 model “C” speed ball pen, using 
regular ink for pen work. The numeral “4” was lettered 
with white and then lightly air-brushed or shaded with dark 
red. 

Card No. 2. Size 16x22 inches. Dark brown cardboard 
with the letter “W” in light green, outlined with gold. The 
balance of the first two lines of lettering was done with No. 
12 brush using cream showcard color. The last three lines 


were made with a smaller brush using light red showcard 
color and mixed with yellow to form a very pale pink. 

Card No. 3. Size 8*/2xl3 inches. Plain white card¬ 
board, round-cornered, with border outside of the panel 
air-brushed in light yellow. The flowers which show faintly 
in the reproduction were violets made with a small brush, 
using purple ink. The vines were done in light green. The 
lettering was done with model “C” speed ball pens, using 
gray ink for shading the words, “Men’s Shirts.” The num¬ 
eral “3” was outlined in white. 

Card No. 4. Size 9x5*4 inches. Plain white cardboard 
lettered with No. 12 brush and black showcard color. The 
border and the figures were then airbrushed in purple ink 
and the face of the figures striped with white. 


( 46 ) 



ATTRACTIVE SUMMER DESIGNS 



Cool 

Commits 


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( 47 ) 








DESCRIPTION OF FALL CARDS 


Card No. 1. Size 16x22 inches. Greenish gray mot¬ 
tled mat board, cut out in attractive easel effect. Panel is 
of white cardboard with air-brushed shading in yellow. 
The words “Fall Opening” are lettered in dark red. The 
Smaller lettering was done in black ink with the model “C” 
Speed ball pen. 


Card No. 2. Size 16x22 inches. Dark green mottled 
mat board. Initial letter in “Footwear” was done in white 
c.olor against a bright red background, with border in gold. 
Balance of letters in word “Footwear” were done in white. 

The four lines of Italic lettering were done in light 
cream color. Note the even slant in the “Italic.” 


( 48 ) 



CARDS FOR FALL 



eiyng 


A perfect cxlgbifioi^ 
of i(C\Ay[ 
aufuiiui uipdcr 


Plates used by permission of Ely & Walker Dry Goods Co., St. Louis. 

( 49 ) 







DESCRIPTION OF LATE AUTUMN CARDS 


Card No. 1. Size 16x22 inches. The pumpkin design 
was air-brushed, by first cutting out a stencil the size neces¬ 
sary and then using orange and yellow air brush ink with 
an outline of light green. 

The small line of lettering was done with a No. 3 model 
“C” Speed Ball pen. The words “Halloween Dainties” were 
lettered in “Egyptian” with a No. 12 brush, and the color 
was dark red. 

These two lines were air-brush shaded in light green. 
The last two lines of lettering were done with a small brush 
in black ink. 

The “frosting” effect was obtained by using heavy 
white showcard ink as indicated, and then ground mica was 
sprinkled on the ink. This makes a very attractive show¬ 
card for Hallowe’en season. 


Card No. 2. Size 16x22 inches. Thanksgiving design. 
The drawing of the Pilgrim was made offhand, first being 
sketched in with pencil, and then black ink was used, touch¬ 
ed up with white. The showcard stock was of reddish 
orange. The word “Thanksgiving” was drawn with the 
brush in black and shaded with white. 

The small price cards shown in the center were plain 
white cardboard. The first sign shows the method of mak¬ 
ing a “mask” or “cut-out” for the lining of a large number 
of cards, when it is necessary to have them equally spaced. 

The next card shows a suggested penciled-in sketch, 
and the remainder, the actual pen lettering. These cards 
were then daintily air brushed on the edges. The square 
card shown was a small card three inches square, also let¬ 
tered with pen. 


( 50 ) 





Plates used by permission of Ely & Walker Dry Goods Co., St. Louis. 

(51) . 



CARDS FOR LATE AUTUMN 


i$ on. % panipKiiC 


For- % Children, 
and ll{e 'Cwvivup^ 













DESCRIPTION OF CHRISTMAS CARDS 


Card No. 1. Size 14x22 inches. Deep blue cardboard 
stock with border line in white. The words “Toyland is 
Ready” were done in bright green color. White color was 
then applied freely and with careless effect at the top of 
the white letters and also in the bottom curves and spurs. 
While the white color w T as quite wet ground glass or “mica” 
was sprinkled into it, thus producing the effect of snow. 
The balance of the lettering was done with the brush in 
bright yellow color. 

Price cards shown in the center of the reproduction 
were made of white cardboard. Numerals were written in 
with black ink with model “B” speed ball pen. Each card 
features a different colored, flat band border of dark blue, 


tangerine, maroon, orange, mauve and bright yellow, res¬ 
pectively. This border is made by “chiseling” the brush 
out perfectly flat and laying it full width, or whatever width 
may be desired, on the edge of the card and dragging it 
steadily down on each edge of the card. Colored borders 
on price cards add much to their attractiveness. Try out 
the combinations suggested. 

Card No. 2. Size 14xx22 inches. Plain white card¬ 
board mounting with panel of dark green, mottled cover 
stock. The word “Boys” was lettered in dark green and 
closely and somewhat unevenly outlined in bright yellow. 
The balance of the lettering was done in very light green, 
the last line also underscored in the same color. 


( 52 ) 



CARDS FOR CHRISTMAS 













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JUL 2 1 1924 
























